With a dark sound that takes synth music into orphic dimensions, Beta Evers has been making and releasing music since the 90s. Her message captures the essence of the forgotten realms of early underground synth wave, and explores themes of existential angst, sensuality and subversiveness that have all but been swallowed up by commercial pop music. She’s released her own and other artists’ music on her labels which include Kommando 6, BodyVolt, and Venus Noir (a label devoted to female artists), and other record labels over the years, as a solo project in addition to various collaborations. You may have heard her voice in a dance club over some dark beat because her music is so easy to fit the mood and mix into genres ranging from techno, electro, experimental electronic and even rock music. But, her work transcends every genre it examines, and tells a unique multi-layered story. Femmecult is happy to present an interview with artist and composer, Beta Evers (Brigitte Enzler). Femmecult: What are your current musical projects and record labels that you are actively involved with these days? Beta Evers: After releasing 2 1/2 EPs with solo works within the last 12 months, I am now in a phase where I will let my solo activities rest for a longer time. Currently I am working on a collaborative project with Alek Stark and another one with Heinrich Mueller. Besides I am involved in the sporadic long time project Radikale Analog Fraktion. At this moment we just play and test ideas without having any concrete release plans. Femmecult: How do you divide your time between running record labels and composing music? Beta Evers: The record label is not that demanding because I release only 1 record per year. There are maybe...

Darkswoon is an electronic shoegaze band out of Portland, Oregon, the primary musical outlet of Jana Cushman. The band performs live as a duo, an energetic show that has Cushman on guitar, effects and vocals and Christian Terrett on electronics. In Cushman’s own words, “Darkswoon builds sonic landscapes from the foundation of loops and beats, layered with intricate effected guitar, harmonized looping vocals, and synths to create a transcendent texture of music.” The band’s second release, a 4 song EP entitled Silhouettes has turned quite a few heads for its flawless execution of the best parts of a teenage ripped-jean rebellion, and capturing the energy of that one enigmatic band from the old days that you just can’t forget. We caught up with Cushman to find out more about her songwriting process and what drives such a compelling sound. Isn’t it true that the best music so often goes unheard? Let it not be true for Darkswoon! Read on and be sure to watch the video that was produced for her song ‘Necromancer’, filmed in and around the lovely graveyards of Portland, Oregon. Femmecult: How did you get into making music? Did it start at a young age, and/or was it born of interest in other forms of art? Darkswoon: I use music to work through problems in my life and this is how I started writing music, as a way of therapy or my own version of praying. Putting an issue out into the universe and harvesting creative energy is the most effective coping mechanism I’ve been able to develop. That is how I started writing music, not so intentionally but more so in order to survive being young and fucked up. I grew up playing guitar and had a very musical family....

Portland self-described ‘Electrohaze’ artist Darkswoon (Jana Cushman) makes brooding tunes that get deep inside your head. She blends gritty exotic guitar melodies with sharply danceable distorted beats– an electrifying foundation for soaring vocals that peak into your soul. A magic light emanating from the fog and the trees, her sound is not one that is easily forgotten. Check out this music video featuring a track off of Darkswoon’s most recent release Silhouettes, Necromancer by Portland, OR video artist Christina Broussard. Visit Darkswoon online:...

Fiona Soe Paing has just released an impressive 12 song debut, via Colliderscope Records, complete with visual art by Zennor Alexander to accompany it. Alien Lullabies has been getting rave reviews and it’s no surprise. Her unique sound channels a super funky futuristic blues-tronic vibe that sets itself apart in an effortless blending of styles. Soe Paing has an impressive grasp on storytelling through song and ‘Ballad of the Two Sisters‘ is one example, in which her expressive voice and lyrics capture a longing and sadness that allude to a haunting tale we can only continue to unravel within our own imaginations. It’s this type of cinematic minimalism that is so alluring; with just a taste our senses can’t help but be enveloped by her sound. Soe Paing draws from a rich sonic palette merging well thought out sound design and electronics, with traditional instruments that make for a quite hypnotic strain of electronica. She captures a playful vibe on ‘Roller Ghoster’ showing that she has an easy grasp on the genre of dance music, yet takes it a step further by deconstructing the arrangement to create the aural simulation of being on a carnival ride. Read an interview with her on her creative process from Creative Scotland. Soe Paing is also a part of the Female Pressure network and talks about the importance of bringing more attention to female artists in her recent guest article on Female First Magazine. Alien Lullabies is available to purchase on all the major digital outlets, and you can also get physical copies via her bandcamp page. Have a listen and support this fantastic work of art....

DJ Shiva is an techno artist with 2 decades of experience behind the decks and many quality releases to her credit on labels including Dystopian Rhythm, 611 Records, Different Is Different, Translucent, Gynoid Audio, and Chroma. Known far and wide as a tastemaker to reckon with, she runs the bi-monthly SubTerror Radio show, which is moving into it’s fifth year hosting the top names in techno from all over the world. We got a chance to speak with her about how she began so long ago, and what continues to inspire her dedication to this art form. Always outspoken and insightful, she also shares her thoughts and experiences on the electronic music industry and what is helping and hurting its progress in terms of leveling the playing field for all artists, especially women. In the podcast we’ll share bits and pieces of her music including her latest release on Detroit Underground under the moniker .noncompliant. Please join us for this fascinating conversation. Connect with DJ Shiva online. Twitter: @djshiva https://www.facebook.com/djshivamusic/ Tracklisting used in podcast: DJ Shiva – In Bloom .noncompliant. – Airless Spaces .noncompliant. – Nolite Te Bastardes Carborundorum .noncompliant. – Ailed/Delia DJ Shiva – Whomp Rat Kroman Celik – Krater (DJ Shiva Remix)...

Last year I got the opportunity to attend Mutek Montreal and interview Dasha Rush. I’ve been a huge fan of hers for several years now. She is the consummate artist, exploring a fascinating range of territories in her work with innovation and style. She performs live and DJs, and also does a live A/V performance. Her styles of composition range from dark dance floor techno to experimental electronica with spoken word. She heads up 2 successful record labels, Full Panda for the more rhythm oriented work, and Hunger to Create (on the same website) for things of a more of an experimental nature. Her touring schedule is relentless and this year she’s back at Mutek Montreal with 2 performances. In the interview we discuss her musical process and songwriting techniques, and the value of simplicity in creative work, as well as a bit about her personal experiences in the electronic music industry. We start out with some technical questions about her setup. Thanks for reading! Femmecult: When you began making music, did you get started with gear or software? Dasha Rush: Software. I mean there was a bit of gear but it was software and I didn’t have any of my own in the beginning, of course. It was from friends.. and people who were lending me things to try out, but yeah I started with Cakewalk and sampling things, usually with samples and then I used Fruity Loops for a while and then slowly developed try different things. I still partially use hardware, but mostly software. Femmecult: I’ve seen some videos of you working with modular synth. Dasha Rush: I’m not really into modular synth. I’ve tried and I have interest but it’s not like something that I do now. Now it’s developed...

DJ Mag, a monthly British publication featuring electronic music and DJs has come under fire recently for their 25 year anniversary special featuring 25 pioneers of dance music of the last quarter century, where not one woman was deemed worthy of inclusion. It’s not very surprising coming from a magazine that holds reader poll based top 100 DJ contests where year after year less than a handful of women ever make the cut. But this anniversary feature was not poll based. It was fully in the hands of the editors to decide. You would think that a magazine that touts itself as the “global voice of dance music” would be a bit more inclusive to women instead of playing up the brofest sausage party. Sadly, this was not the case, although hurried apologies and promises to do better next time have been issued, in a feeble attempt to fix what in hindsight has been called a bad PR move by the magazine. Here was a great opportunity to be cultural innovators and use their voice to bring attention to the contributions of women, but they dropped the ball, or maybe they never actually picked it up. How many times throughout history have tallies and lists been made of pioneers in art, music, science or any other field of study that have systematically excluded women? This is why it’s called history, and not herstory. Women have been doing the work alright, but have been consistently relegated to the shadows of pop culture by false positives like DJ Mags top 25 list. The fact is that DJ Mag is not enough of a pioneer itself to address the issues of inequality within the music industry that would help to propel it toward the status of authority...

CMD aka Cyan (Corina MacDonald) is an electronic music maker and radio host based out of Montreal, Quebec. She’s been producing Modular_Systems on CKUT 90.3 FM for over a decade now, all of which are diligently archived on her website going back to 2004. With several releases out on labels such as Fur Trade and Basic Sounds and a live performance at the 2015 edition of MUTEK, she’s been building a reputation for quality output. We got a chance to pick her brain a bit about what got her into making music and her processes. She has done a DJ mix exclusively for Femmecult which you will find below the interview. Thanks for reading! Femmecult: How did you get into making music, and at what age did you become interested in electronic music specifically? CMD: I never studied music formally, except for some sporadic guitar lessons as a teenager. I think my interest in making electronic music came out of a trajectory related to radio, sound editing and DJing. I started getting seriously into electronic music in my early twenties, after spending some time in Scotland and then relocating to Montreal from Calgary. Moving around and being exposed to different music scenes was really exciting and motivated me to get more involved. Femmecult: Did you have an underground collective or group of friends, or support networks that first influenced you to pursue this field of interest? CMD: Shortly after moving to Montreal I started volunteering at CKUT, and many of the first friends I made here were DJs and producers, so music has been the common factor in much of my social life. I’ve founded a couple of different collectives over the years with friends as a way to collaborate and organize events that...

Midnight Magic is a nine piece live disco band based out of New York City that features Tiffany Roth on vocals, and is comprised of a horn section, keyboardist, guitarist, bassist, and a live drummer and percussionist. They give a excitingly modern perspective on retro space disco.

This in depth interview features 2 live performance videos of Midnight Magic performing in New York City at The Cameo Gallery. In the interview, Tiffany talks about her history and training as a vocalist, some of her influences, and also goes into how Midnight Magic develops song material including compositional techniques and touches on their creative process. Please tune in to this entertaining conversation that gives a glimpse into the evolution of an artform from the perspective of the charismatic and talented front woman, Tiffany Roth.

A DJ and producer known for her signature style of mashup that excludes few genres, the mixes of Experimental Housewife take the listener on a trip to the outer reaches of expectation. You may also have seen her name in print, as a music reviewer for the Berlin based No Fear of Pop blog as well as exploring topics surrounding the recent uproar regarding women in electronic music.

Femmecult interviews San Francisco based electronic music composer and live performer, Cherushii (Chelsea Faith.) In this audio interview/podcast she shares a bit of her history honing her craft and some of her production techniques. Tracks from her latest EP Queen of Cups, out on Los Angeles based label 100% Silk are also featured in the podcast.

Electric Indigo has been involved in the world of dance music on many different levels. She began her career in the late 80s and has had the opportunity to develop a well rounded perspective on the industry from being involved in it for over two decades. She has played all around the world as a live performer and DJ, and her sound design for theater works producing for multi-channel installations is gaining the attention of larger and larger audiences for its innovation. Femmecult is happy to have the opportunity to gain insight into the experiences of such a distinguished artist.

Sound artist, remixer, DJ, Photographer, label owner and live performer, London based artist Shelley Parker, is deep in the game to say the least. She’s been making music since the 90s, honing a unique style that has become quite influential in the international avant garde electronic scene.

Femmecult interviews Portland, Oregon based event promoter Coco Madrid. In the audio podcast Q&A she gives insights on the history of the underground music scene in Portland, how it’s evolved, and her experiences helping promote events.

Built by mad scientists in a secret underwater laboratory on the Lost Continent of Atlantis deep within the Bermuda Triangle; AMANDROID is a state-of-the-art being: A Human/Android Mutation. Originally programmed as a covert SubSonic Operative, an assignment led her on her fateful rendezvous with SPAZ and 5lowershop at the AUTONOMOUS MUTANT FESTIVAL- forever altering her life’s trajectory. Thus Submerged in the festival’s Bass Saturated 23rd Dimensional Landscape; AMANDROID’s circuitry was completely washed and re-written. Now, in Solidarity with her Audio Comrades near and far, FREE and imprisoned, AMANDROID and the ARMY of LOVE SOUNDSYSTEM are proud RENEGADES of the SubSonic RESISTANCE! From their Underground base deep within the Liberated Territories of Northern Californiastan, they are forever venturing forth bringing Audio Mayhem to points up and down the West Coast, across the continent and Worldwide. And like yourself, AMANDROID is yet one more gleaming point of light in the perpetually expanding Galaxy of Artists and Musicians RESISTING the oppressive forces of the Mundane and Complacent! You can hear her live every Thursday on Dam Free Radio on the internetz at: http://www.spaz.org/radio/ at the AUTONOMOUS MUTANT FESTIVAL: http://www.mutantfestival.org/ and at a party near you soon! LONG LIVE THE RESISTANCE!!! www.spaz.org (bio by Be Wun) Femmecult: Tell us about your early years, and any parties, crews that pushed you in this direction and motivated you to begin djing. Amandroid: I think the telling moment that kind of sewed it all up and sent me in the direction I have been going in for the last 16 years was meeting some people from the S.P.A.Z, and Blackkat sound systems on the street next to their tour bus in Madison, Wisconsin, where I was living at the time, in about 1998. I had just returned from almost 2 years...

OPENSIGNAL is a collective of artists based in Providence, Rhode Island (USA) concerned with the state of gender and race in experimental electronic-based sound and art practices. They host technical skillshares, critical discussions, and events featuring artists pushing the boundaries of thought and practice in electronic performance. (Taken from cargocollective.com/opensignal). In this Q&A, they share some insights into their experiences as women working and studying in the field experimental electronic arts.

Doris Schmid, video artist and Christina Nemec, author, composer and label head of Comfortzone Music speak with Femmecult about the process of collaborating for the music video, Uruguay Lovely Maldita.

Singer and composer, Jennifer Touch has a unique sound that really stands out in the saturated world of electronica. Drawing from electropop and disco influences that came decades before her, she does a great job of reinventing them with a rare essence that leaves the listener wanting more. The kind of music that sticks in your head long after listening is characteristic of her style that could work on the dancefloor and off.

Today is an important day to celebrate women and their contributions to this world. So many women have inspired me along the way and have made me who I am today. When I was younger, it was Kim Gordon of Sonic Youth and Bjork who taught me that I could realize my dreams in music. That I too, could be punk rock and DIY and do things on my own terms.